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en anglais. (Or at least the "introduction.")

Levy is such an intolerable windbag. He did a "Tocquevillian" travelogue of America for The Atlantic a few years back (expanded into a book, I believe) that was absolutely unreadable, a compilation of the most tired, obvious "insights" about America imaginable.

The 2010 Governors Awards. The highlights are not streaming as of yet though!

A 3D movie about a talking dog? Is Godard doing the next Marmaduke?

NilbogSavant wrote:

Production601 wrote:French intellectual Bernard Henri Levy takes position on supposed antisemitism & reveals four never published before scripts he had with Godard.

For those who cannot speak French, what is his stance?

Most of the time you can copy the URL and paste it in google and it will allow you to translate the page when it shows you the results. Doesn't always work.

Here, angry New Yorker reacts after screening of FILM SOCIALISME at the New York festival.

Funny but sad but funny

Morceaux de conversation avec Jean-Luc Godard with engl. subtitles (1/12)

ps: I never watch "films" on may notebook but these documentaries go well with a sunday morning coffee & cigarette on the kitchen table… I think "unverfied-worldwideweb" translations (incl. texts) should always be taken with a pinch of salt but they can at least give you an idea…

Gaumont releases new Godard's box-set

It includes 9 features: Bande à part, Une femme mariée, Week-End, Tout va bien, Sauve qui peut (la vie), Je vous salue, Marie, Soigne ta droite JLG/JLG -Autoportrait de décembre and For Ever Mozart. The last one was released by The New Yorker in 16:9 though it's original aspect ratio is 4:3. Gaumont keeps the original one. Moreover Gaumont realeses it (along with 4 other films) in the typical godardian 1,37:1 instead of the more conventional 1,33.

All the DVDs contain English and French subtitles. The box-set also includes some shorts and a disc of conversations with Godard (more than 2 hours).

Extract from an interview JLG recently gave to to the Swiss broadcaster TSR.

Great bit of JLG publishing-related news: Caboose in Montreal, Canada will be publishing an English-language translation of Godard's 1980 Introduction à une véritable histoire du cinéma which from what I recall forms the basis for many of the ideas he later explored in the Histoire(s). You can already view sample excerpts from the sections on Breathless and Alphaville. I've been wanting to read this forever, I'm glad it's finally happening after 30 years.

These are the talks where he discussed several films in relation to his own, right? I remember him pairing up Brigadoon with One Plus One, which I'd love to hear/read justification for

domino harvey wrote:These are the talks where he discussed several films in relation to his own, right? I remember him pairing up Brigadoon with One Plus One, which I'd love to hear/read justification for

Right - lots of unexpected pairings are mentioned in either the MacCabe or Brody books (or both).

Happy birthday to Mr Hans Lucas

Interview to Swiss newspaper Tagesan Zeiger, here.

Free font custom made in honor of JLG's 80th. Très bien!

Does anybody know where I can watch footage of Godard at work on set? Thanks.

There's a documentary about him directing One Plus One that has lots of footage of him maneuvering his set-ups and coaching actors but I can't remember where I saw it... perhaps/probably/surely on the UK disc?

There's some footage of him working on Nouvelle vague, too - I saw it via a link somewhere on this board (maybe even this thread?) If I remember right the interviews with Delon, etc. were unsubbed but the shots of JLG directing his crew (and moving some dolly track himself at one point) was really terrific to see.

Edit: Found it. I'm getting an error when I try to watch it now, helas.

JLG on Nouvelle Vague set & full version of the interview recently given to Suiss broadcaster TSR here http://www.tsr.ch/video/#id=2774120" onclick="window.open(this.href);return false;

(I thought about reading through this thread before I post my thoughts but since this following the tradition of me writing about other filmmakers, I figured I would just go right ahead and just share my initial impressions)

Kubrick was the one who initially showed me the wider world of cinema, Godard pushed me into the sandbox and made me play in it (take the sandbox comparison however you so desire =] ).

I can see why most people are not particularly fond of Godard. He takes whatever components he wants and puts them together to form his own thing and the audience be damned. If he wanted to put jump cuts in À bout de souffle, he'll do it. If he wanted to fixate on the unravelling of a relationship in an Roman flat in Le mépris, he'll do it. If he wanted to make explicitly political films regardless of audience taste, he'll do it. If he wants to quote anything from Dante to Faulkner to pulp fiction (haha =] ) to ad slogans and pop songs, he'll do it. Basically he'll do what he wants and if you like it, it's coincidental. And if you want to "honour" him, he'll go "meh" =]

For myself, I've seen most of the key works in his "classic period" like the ones I mentioned earlier and only two after 1968: Tout va bien and Nortre musique (and the last one was in the theatre too). In the "classic period," I do enjoy the playfulness and this relentless pursuit to try anything and everything but grounded in something. Like in Le mépris (which is definitely my favourite of his), his reflexivity on the cinema makes a point about cinema at its best (to use the Bazin epigraph, desires of the filmmaker and perhaps a deeper desire on the viewer) and cinema at its worst (desires of the financier and mere surface pleasures of the viewers, i.e. nudity). But then there are the films that are not really about anything except just being himself like Une femme est une femme or Bande à part.

I'll conclude with: if you see something in my pending work that seems odd, blame it on Godard (either him or Lars von Trier)

My 2nd viewing of La Chinoise was a revelation. (I would rather chew tinfoil on the first viewing.)

Of the 20 Godards I've seen, I find this one to be the most......yes, I shall say it.......suspenseful. We endure lecture / parody / satire / skit / confusion / contradiction / naivetee / Communism 101 / The Politics Of 1967 (or May 1968, wow!!) for what seems an eternity, but all the while something is brewing, Hitchcocian style. When push comes to shove, plotwise, it's genuine goosebumps time, and also Mansonian in the horrificness of their delusions / actions.

Editted due to prior drunkenness.

In case this is not covered elsewhere on another thread, here's the latest installment of Godard, Hollywood, Awards and the Jews - by himself

I thought this would be worthwhile to mention: This Thursday, anyone in the Philadelphia area can catch a rare screening of The Oldest Profession, which includes Godard's short Anticipation, Ou L'amour en L'an 2000, at the International House. Details here. Sadly, it appears that this print is dubbed in English but on the upside, all of Godard's psychedelic color effects remain intact.

On the topic of Anticipation, is anyone able to confirm that the version included in the recent Gaumont box set is indeed the one with the "psychedelic color effects"? I've been longing to see this for an age.

No, Gaumonts recent release is in black & white only and has no tinted images.

Thanks for the information. I wonder if there is a problem locating a copy of the film with both original French dialogue and the colour effects? I seem to remember reading elsewhere here that Criterion had gone after it, but hadn't been successful. I suppose the thing to do is buy some red, white, and blue transparent plastic sheets and hold them up to screen at the correct moments - doesn't Anna Karina provide cues?

Have "just" seen this in the Cinema alongside PRENOM CARMEN on JLGs birthday for the first time. Its impossible to think of this film without the color effects because they are essential to the story…